one piece

By Eiichiro Oda. Released in Japan by Shueisha, serialization ongoing in the magazine Weekly Shonen Jump. Released in North America by Viz. Translated by Stephen Paul.

Food has always played an important role in One Piece, from Luffy’s voracious appetite to Sanji’s chef skills. And in this arc we’ve seen the dangers of food as well in a kingdom where everything is edible. But I don’t think we’ve ever quite gotten as terrifying as Big Mom and her backstory, one of the most truly unnerving and creepy moments in the entire series, especially because it’s implied – we don’t quite see it, as we’re seeing things from Charlotte Linlin’s point of view. Big Mom is certainly the villain of this arc, but I’m not sure we’ve seen a villain quite as psychologically damaged from a very young age as she’s been, and it makes her ravenous appetite far less of a joke than it had previously seemed (and it was always meant to be disturbing). Kudos to Oda for getting really, really dark here.

Elsewhere in the volume, it’s becoming more apparently that Jimbei actually IS going to be a new crewmember, provided he manages to survive the upcoming battle without a tragic sacrifice. This is actually rather interesting, as he’s the first semi-serious crewmember to be added since Nico Robin. Jimbei’s really cool here, standing up to Big Mom and refusing to cower, and I’m actually looking forward to seeing what he brings to the crew. Admittedly, the gender imbalance of the crew is starting to show itself a bit as well. Maybe we can get Vivi back? It’s certainly not going to be Charlotte Pudding, who despite her best efforts to be super evil, and her genuine irritation at Sanji’s goofy pervert persona, is backsliding into being a good person. I’m not sure how happy I’ll be with this, we’ll have to see.

As for Luffy, I have to hand it to him, that was a very clever (and funny) way to crash the wedding, and shows that he’s starting to strategize rather than just burst in fists akimbo – or rather, he still bursts in but works strategy into it. Unfortunately, things don’t go quite as planned (big surprise there), and it looks as if we’re settling in for the long haul, introducing several of the Charlotte family to no doubt battle our heroes one by one and show off their quirks… sorry, Devil Fruit Powers. I have to say I won’t cry if Capone ends up dying (though it’s always hard to have actual named characters die in One Piece), given that his plan to take out Big Mom relied on basic mental cruelty. I was also amused at the Straw Hat Crew (even Nami!) all sleeping like the dead before the big event, because, as Jimbei points out, they’ve been running flat out for days before this.

I suspect the next couple of volumes are going to be pure chaotic fighting, though hopefully it won’t go quite as long as Dressrosa. Still, this was a stronger volume of Once Piece than we’ve seen lately, and I look forward to seeing how that chaos plays out. Definitely recommended for fans.

By Eiichiro Oda. Released in Japan by Shueisha, serialization ongoing in the magazine Weekly Shonen Jump. Released in North America by Viz. Translated by Stephen Paul.

It goes without saying that the revelation about Charlotte Pudding in this volume does not come as a complete surprise. It will also not come as a surprise to me if she reverts later on, as Oda’s general treatment of women has gotten a lot more sexist and predictable over the years. The best thing about said revelation is Sanji’s reaction from outside the building, which is a simple grim silence. Oda’s panels can verge on chaos much of the time, and certainly do here, from Luffy trying to rip his hands off in order to escape to Chopper and Carrot’s pell-mell running through the mirrors, everything is traveling at 100MPH. So when Oda pauses to let a scene breathe, it has that much more impact. Charlotte’s ability is also a clever use of Devil Fruit to make what amounts to “memory erasure” look cool and also creepy at the same time. I tend to read One Piece slowly because little details always matter in it.

Reading One Piece slowly also helps you to notice the repeated themes Oda uses in his work, though to be fair this theme could be noticed from quite a ways away. Like Nami in the Arlong Park arc, and like Robin in the Enies Lobby arc, Sanji is desperate to get everyone to abandon him and save themselves. And of course when Luffy confronts him about it, his response is the same as the others: yes, I want to go with you. Please save me. I’m not entirely certain how many of the Vinsmokes are actually going to survive this arc, particularly after learning what Big Mom’s real wedding plans are. As I’ve said before, Reiju has “tragic sacrifice” written all over here. Still, I’m confident Sanji will survive, as he is a crew member. Speaking of which, will we get a new crew member at the end of this arc (which is still going in Japan)? Will it be Carrot? Or Jimbei, who rescues Luffy and Nami and joins the fun here.

Other things I noticed: I am vastly impressed with Brook for how he hid the poneglyph copies. That was clever thinking, and also clever on the part of Oda, who had to figure out where to hide a mass of paper on someone like Brook. Nami’s top takes some fire damage as part of her being rescued, and there’s some brief “will we see a breast? No.” fanservice, but I was amused she simply tied it back immediately – I wonder if she chooses her outfits so they can easily be fixed in case of ludicrous fighting? The alliance with Capone and Caesar Clown (who we simply can’t seem to get away from – Oda must love him as comedy relief) seems like it will be a disaster, but it does give us the opportunity to see Luffy in a nice mob suit. And why does Oda’s version of American football have the women wearing hot pants… wait, I know the answer to that one.

One Piece is not what it once was, but it’s still compelling, and should remain on your reading list for the foreseeable future.

By Eiichiro Oda. Released in Japan by Shueisha, serialization ongoing in the magazine Weekly Shonen Jump. Released in North America by Viz. Translated by Stephen Paul.

I’ve talked before about the pacing of One Piece vs. many of the other Jump titles we’ve seen over the years. One Piece packs so much into each chapter it’s as if these 84 volumes have really been 168. Bleach, on the other hand, could probably come in under 50 if you sped things up to a normal scale. It’s also one reason why I feel the need to give each new volume a full review rather than a Bookshelf Brief. Even when a volume is mostly a bunch of fights, even when it’s mired in an arc I thought went on too long like Dressrora, even when Oda is doing things I’m not a fan of… it’s still one of the best shonen manga out there, and there’s still a lot to talk about. Let’s start with Sanji, as this is in many ways his arc.

I’ve possibly mentioned before that while I love all the Straw Hats, I love Sanji perhaps the least most. This has always made me feel a bit guilty, and therefore I am pleased as punch that we get this volume, showing off his best qualities, revealing more of his horrific childhood, and keeping his bonkers libido in check, even when he’s around a hot girl who’s ready to be his wife. It’s never easy being the unfavorite son, and of all the family it’s no surprise that I’m most interested in Reiju, who actually has empathy but goes along with her family’s wishes anyway. She seems the sort who will either change her loyalties later on or get killed. It’s also interesting to see the Vinsmokes appear to be genetically engineered superhumans, and that Sanji, who has merely normal abilities (for One Piece), is seen as a failure. (I was less pleased with Sanji’s brief “don’t hit women” flashback, which seemed tacked on – I suspect too many fans wanted to know why.)

Sanji is also determined to make sure the rest of the Straw Hats aren’t wiped out by Big Mom, enough to break things off with Luffy. He should know better than anyone that this won’t work, and all it gets him is Nami belting him across the chops. That said, in more important revelations, we see Luffy so full it’s hard for him to eat, something I didn’t think possible, and it actually takes his rubber body a while to slim back down. I’d assumed that he and Nami might have an in to the wedding due to Lola’s vivre card – sadly, a) Lola is persona non grata with Big Mom right now, and b) everyone thinks Nami killed Lola to get it, which is what they would have done. So they end up captured, though that doesn’t last long – I do wonder what’s going on with Charlotte Pudding, who seems far too good to be true.

And there’s also Chopper and Carrot’s mirror adventures, which are mostly comedy, and the revelations about Pedro. As I said, there’s just a LOT going on in each volume of One Piece, and most of them also make you want to go back and check previous volumes to find the hints Oda put in them eight years prior. Even after all these years, this should still be on everyone’s reading list.

By Eiichiro Oda. Released in Japan by Shueisha, serialization ongoing in the magazine Weekly Shonen Jump. Released in North America by Viz. Translated by Stephen Paul.

One of the most obvious things that a reader will pick up on when reading any given volume of One Piece is how much fun Oda must have while creating it. Jump manga in general is very good at showing off the author’s joie de vivre, but Oda in particular makes you think of the title as a giant rollercoaster of pure wow. In particular in this volume, the scenes in the Seducing Woods are amazing, being a combination of childhood dreams of everything being alive and talking to you (including all the sweets you eat), and the horror of everything being alive and talking to you, INCLUDING THE SWEETS YOU EAT. The revelation of how the woods, animals, and everything in Big Mom’s world speak is mind-numbingly horrific, but Oda breezes right by it, content to give us more running around and punching things as a distraction. It works, but in lesser hands this would have been tonally deaf.

Luffy and company are still trying to rescue Sanji, of course, but the woods keep them busy most of the volume, so we’re not there yet. Sanji is not having a good time, though. The rest of his family has arrived, including his father, who is a nasty guy whose skills are also equal to his son, it would seem. Once again, you get the feeling that Sanji could really do some damage if he’d only take the limiters off himself – usually it’s “I won’t fight women”, but here it’s “I’ll never fight using my hands” that’s his handicap, and it’s why he now is wearing exploding handcuffs. There is genuine sadness here as well, though, as we see Sanji’s abusive childhood, and realize why he would much rather think of Zeff as his father figure than this guy who’s willing to barter his “useless” son for political gain.

As for the fights, well, Luffy gets most of the action, as usual, though Nami fares better than she normally has in recent times, using her new Climatact with gusto. The big trump card, though, turns out to be the vivre card she got from Lola back in the Thriller Bark arc – Lola, it turns out, being one of Big Mom’s endless children. I always love it when One Piece manages to tie in a plot point that happened years and years ago, though it does require the reader to be well versed in the lore. She and Luffy also bounce off each other very well – there’s no romance in One Piece, of course, but I can’t imagine LuNa shippers being too upset with what they get here. Carrot and Chopper fare less well, though there are hints that they will be more proactive in the next arc.

Wilol Luffy and company get to Sanji? Will they even meet up with Brook and Pedro, who were the advance guard? And what of Charlotte Pudding, Sanji’s bride, who likes him well enough but seems perfectly willing to let Luffy rescue him. And of course, given Big Mom is one of the Four Emperors, it’s not going to be all that simple, especially given that she can destroy whole towns when she gets hungry. My guess is this arc has a long way to go before it ends. Luckily, it’s One Piece, so we will always be entertained.

By Eiichiro Oda. Released in Japan by Shueisha, serialization ongoing in the magazine Weekly Shonen Jump. Released in North America by Viz. Translated by Stephen Paul.

This is another one of those volumes of One Piece in which so much happens that you begin to wonder where to begin when writing the review. There’s revelations about Sanji’s family’ discussion of Gold Roger and Raftel, the final destination where One Piece lies; the aftermath of what happens on Zou, and the splitting of the crew (again!) to deal with the myriad problems; a meeting of fifty Kings and Rulers from all over the Grand Line, which means we get to see Vivi sailing again; and starting off a new arc as the reader, of course, follows Luffy, who takes his merry band to rescue Sanji from his impending wedding. Which, amusingly, Sanji wants to have no part of, though seeing the amazingly pretty bride to be might change his mind. And this is all mixed in with the usual One Piece humor and fighting.

It is rather interesting seeing Vivi on the cover in the background there, given she doesn’t really get all that much screentime (though she certainly flaunts the time she gets). One of the drawbacks of Oda writing a constant pirate’s journey is that it’s very difficult to go back and visit anyone again, which is why we only see Kaya, Nojiko, etc. in occasional “what are they doing now?” scenes. But the upcoming meeting will, I suspect, give an opportunity for Vivi at least to rejoin the Straw Hat Crew, which would be awesome, even though the crew itself continues to be unwieldy. In Dressrosa we had Nami, Sanji, Chopper and Brook sidelined for volumes at a time. Therefore, for this new adventure, Luffy takes Nami, Chopper, and brook with him to go bring back Sanji, leaving the others behind to deal with the other threads of plot that will involve less of Luffy rushing in where rubber doesn’t really to treat. And what’s more, he adds some people from Zoul, some on purpose (Pedro, Pekoms), and some by accident (Carrot, who I suspect is there for comic relief).

But Sanji and his family are currently where Oda is directing attention, and luckily that coincides with the arrival of the Big Mom Pirates. Big Mom may be stereotypical, but she’s certainly dangerous, especially given the final vision of the volume, as she parties along with the Worst Teletubbies Episode Ever. We also meet two of Sanji’s siblings (one outrageous, one sensible, in the best tradition of meeting siblings), and find out a bit more about their family, including their being used as the basis for a group of comic strip villains popular all over the Grand Line. And we meet Charlotte Pudding, Sanji’s fiancee, who seems nice and sweet and makes chocolate, and I think I’ll leave it at that, as the volumes are a good year behind the Weekly Shonen Jump chapters released every Monday.

So it’s all over the place, but in a good way, and Luffy gets to be monumentally stupid, which we haven’t seen for a while, and Nami upgrades her weapon in a very amusing scene and… look, it’s just a good volume of One Piece, OK? That said, read the other 81 first, as this is a bad volume to jump off from.

By Eiichiro Oda. Released in Japan by Shueisha, serialization ongoing in the magazine Weekly Shonen Jump. Released in North America by Viz. Translated by Stephen Paul.

In almost all respects, this volume of One Piece is leagues better than the last one. It’s the start of a new arc, which means that the chaos that Oda now writes as a matter of course is a bit more tightly controlled. There’s amazing fights, mostly in flashback. There’s great humor, mostly involving the two leaders of Zou and their animal characteristics. Our heroes get to actually be heroes, and we are reminded once again that Luffy’s piracy is not about raping and pillaging. There’s also surprising drama, as we find out about the extent of Big Mom’s power (complete with a shout-out to the movie Se7en) and her reach. And, perhaps most important of all, Sanji gets a last name.

This is more important than it sounds. Of the original ‘main’ cast of One Piece, it was noteworthy that three of them were never given family names, which might imply there’s some lingering backstory to be had in the future. After all, we never met Nami’s birth parents, and Usopp’s father is still presumably bumming around with Shanks. And then there’s Sanji – or rather, Sanji Vinsmoke, who happens to be one of a family of famous assassins. We don’t actually get too many details here, and I’ve no doubt we’ll be meeting them soon, but I like that Oda is able to riff on details that he wrote literally over 70 volumes ago in an “I meant to do that” way – namely that Sanji was born in North Blue, and getting from North to East (where he met Luffy and the others) is not an easy thing, As for Sanji’s decision to leave the Straw Hats in order to forcibly be married off… well, that’s what this arc is about, no doubt, and I don’t doubt he’d sacrifice himself to save the crew. (Note Capone threatens Nami first – he knows Sanji well.)

We also see the Sanji side of the Strsaw Hats arriving at Zou in the aftermath of the battle with Kaido’s underlings (we’ve still not really dealt with Kaido much, but as is pointed out, no doubt they will need to face him soon – along with Big Mom), and right away they’re making a humanitarian effort to save lives and help people. I always enjoy it when the Straw Hat Pirates show off their innate goodness, and this isn’t even in a “we’re saving the kingdom” way – if that had been the case they’d have arrived earlier. There’s also a tremendous reveal right at the end of the volume, which I won’t spoil, but Usopp and Nami’s tears, as well as Luffy’s huge grin, pretty much spell out how I felt about it. It was amazing.

So all in all we’re back to excellent volumes of One Piece, and I couldn’t be happier. Next time we get more anthropomorphs, and try to decide which direction the plot will go next – there are many ways it could go.